CHAPTER IX

.—THE REALISTS AND ECLECTICS

On this period there is little available literature in English, but there are excellent sketches of most of the artists treated in this

## chapter in C. Ricci, _Art in Northern Italy_, New York, 1911.

A. Pératé in A. Michel, _Histoire de l’Art_, Vol. Vª, gives a fuller summary.

Footnote 88:

_Caravaggio._ W. Kallab, Austrian _Jahrbuch_, Vol. XXVI (1906), p. 272 _ff._, brief illustrated essay. Felix Witting, _Michelangelo da Caravaggio_, Strassburg, 1916.

Footnote 89:

_Salvator Rosa._ Lady Morgan, _The Life and Times of Salvator Rosa_, in two vols., Paris, 1824. Leandro Ozzola, _Vita e opere di Salvator Rosa_, Strassburg, 1908.

The passages translated in the text are from Bottari, _Raccolta di lettere sulla Pittura_ &c., Vol. I, pp. 447, 450 _f._, Milan, 1822.

Footnote 90:

_The Carracci._ The fundamental source is Carlo Cesare Malvasia’s highly contentious and anecdotal work _Felsina Pittrice_; I have used the two volume edition, Milan, 1841.

Gabriel Rouchès, _La Peinture Bolonaise à la Fin du XVI^e Siècle_, Paris, 1913, is the standard work on the Eclectic School. On the landscape of this school, which is highly important as preparatory to Claude and Poussin, Rouchès has two remarkable essays in _Gazette des Beaux Arts_, 5^e période Tome, III. (Jan. and Feb. nos. 1921) pp. 7 _ff._, and 119 _ff._

Hans Tietze, in Austrian _Jahrbuch_, Vol. XXVI (1906) p. 51 _ff._, _Annibale Carracci’s Galerie im Palazzo Farnese und seine Römische Werkstätte_—a very thorough and richly illustrated monograph on the Carracci, including such scholars as Francesco Albani, and Domenichino.

Footnote 91:

_Guido Reni._ Max von Boehn, _Guido Reni_, Leipzig, 1910, fully illustrated.

Footnote 92:

_Domenichino._ Luigi Serra, _Domenico Zampieri detto Domenichino_, Rome, 1909. Also Tietze’s article, above, note 3.

HINTS FOR READING

COMPREHENSIVE HISTORIES OF ITALIAN PAINTING. For English speaking readers the greatest resource for reference is Crowe and Cavalcaselle, _A New History of Painting in Italy_, which covers the Central Italian field up to about 1500. I prefer the three volume edition by Edward Hutton, published by J. M. Dent and Co., London; and E. P. Dutton, New York, (1908–9) to the fuller six-volume edition annotated by Langton Douglas and published conjointly by the Murrays of London and the Scribners of New York. For the North Italian field Crowe and Cavalcaselle’s _History of Painting in Northern Italy_, re-edited in three volumes by Tancred Borenius, John Murray-Charles Scribner’s Sons, 1912, is indispensable. Both works are ordinarily cited as “C. & C.” The Italian articles in A. Michel’s _Histoire de l’Art_, Paris, are excellent.

MANUALS. Bernard Berenson’s four Handbooks, _Venetian Painters of the Renaissance_, _Florentine Painters of the Renaissance_, _Central Italian Painters of the Renaissance_, and _Northern Italian Painters of the Renaissance_, New York and London, G. P. Putnam and Sons, are uniquely useful. Each contains a thorough critical discussion and lists of the works of the more important painters. The latest editions should be used.

_A Short History of Italian Painting_, by Alice van Vechten Brown and William Rankin, Dent-Dutton, 1914, offers brilliant, if uneven, characterizations and able summaries of contested points.

TECHNIQUE. Consult the delightful _The Book of Art by Cennino Cennini_, edited by Christiana J. Herringham, London: George Allen, 1922, for methods of painting in tempera and fresco.

BIOGRAPHY. Giorgio Vasari’s picturesque _Lives of the Painters_ may most profitably be read in the translation of Gaston DuC. de Vere, in ten volumes, London: Philip Lee Warner; New York: The Macmillan Company. There are many color-prints. The matter is available inexpensively in the handy “Everyman’s Library.” Mrs. Ady, “Julia Cartwright,” has epitomized the chief lives agreeably, with necessary corrections, in _The Painters of Florence_, E. P. Dutton and Company, 1916.

PERIODICALS. The reader may most profitably cultivate the habit of paging over the files of _The Burlington Magazine_ and _Art in America_, _Rassegna d’Arte_ and _L’Arte_, which contain good reproductions of many fine Italian pictures in private collections.

HISTORICAL BACKGROUND. Excellent the many Italian Chapters in Henry Osborn Taylor’s _The Mediaeval Mind_, in two volumes, The Macmillan Company, 1911. For Florentine conditions consult Guido Biagi, _Men and Manners of Old Florence_, Chicago, A. C. McClurg and Company, 1909, and _The Builders of Florence_, by J. Wood Brown, London, Methuen and Company, 1907.

PHOTOGRAPHS, etc. The ideal way to use a handbook would be to skim it before visiting a great European gallery and to reread it carefully while the impression of the pictures themselves was still vivid. But the student must also depend much on photographic reproductions. For Italy those of Messrs. Alinari at Florence and of Dominick Anderson at Rome are comprehensive, finely made, and remarkably cheap. Alinari has most of the Italian paintings of the Louvre and Dresden Gallery; Anderson, those of the Prado, Madrid, and National Gallery, London. The collections of Hanfstaengl and of Bruckmann, Munich, cover most of the galleries of Northern and Central Europe. Photographs of the Italian pictures in the Metropolitan Museum, New York; the Museum of Fine Arts, Boston; the Fogg Museum, Cambridge, Mass., and the Jarves Collection, Yale University, New Haven, Conn., may be purchased from those museums. Besides these four main collections of Italian pictures in America, that of the New York Historical Society, New York, and of Mrs. John L. Gardner, Fenway Court, Boston, occasionally open to the public, are noteworthy. The art museums of Worcester, Mass., Providence, R. I., Cleveland, O., Indianapolis, Detroit, Chicago and Minneapolis have Italian pictures of quality. There is something in the Wilstach Gallery, Philadelphia, and whenever the John G. Johnson Collection shall be worthily exhibited, Philadelphia will be rich indeed in Italian art. The student should not fail to utilize such local resources, however slight they may seem, for one minor original thoroughly enjoyed is worth days of poring over reproductions.

For students who cannot afford a considerable number of photographs the _University Prints_, Newton, Mass., afford a tolerable substitute. For quick reference the numerous cuts in Venturi’s monumental _Storia dell’ Arte Italiana_, Milan, Ulrico Hoepli, are very useful. The halftones in the “Künstler Monografien,” Leipzig, Velhagen and Klasing, and the larger prints in the “Klassiker der Kunst,” Stuttgart and Leipzig, serve a similar purpose. Details may be had from any importing bookseller.

INDEX

Where an artist has a family name, that is the indexed word, e.g., Bellini, Giovanni. Where there is no surname, the Christian name is used, e.g., Nardo di Cione, Andrea da Bologna. So is the Christian name the index word when an apparent surname is really only descriptive of birthplace or civil estate, e.g., Domenico Veneziano, Lorenzo Monaco. In the case of well-known artists, the most familiar name is employed, e.g., Angelico, Fra; Giorgione, Titian, Perugino, Raphael, Andrea del Sarto, Pontormo, Botticelli, Michelangelo, etc.

Academic, light and shade, Leonardo, 226; theory of generalization, Sir Joshua Reynolds, 318; of selection and Belle Nature, Leonardo, 258; L. Dolce, 445

Altar, as shrine and tomb, influence on subjects of painting, 7

Alunno (Niccolò Liberatore), 273

Andrea da Bologna, 271

Andrea del Castagno, 146–147, 201

Andrea del Sarto, 248–253

Angelico of Fiesole, Fra, 112, 114–122, 267

Antonello da Messina, 345–348, 355, 360

Antonio da Negroponte, 335

Ariosto, list of greatest painters, 385

Baldovinetti, Alesso, 148; an official appraisal of his frescoes, 153

Barna of Siena, 88, 89

Bartolo di Fredi, 86

Baroque decorative painting, derives from Mantegna, 337, 340–341; Correggio, 340, 415–416; Tiepolo, 442; Influence of Catholic Reaction on mood of, 459

Bartolommeo, Fra (Baccio della Porta), 246, 247–248, 282, 290

Bartolommeo della Gatta, Don, 177

Bellini, Gentile, 348–352, 364

Bellini, Giovanni, 324, 352–362, 369

Bellini, Jacopo, 330–333, 334

Bembo, Pietro, 373

Benvenuto di Giovanni, 99

Birth salvers (deschi da parto), 99, 128, 181

Bologna School and Eclecticism, _passim_, 458–465, 471

Bonfigli, Benedetto, 271

Botticelli, Sandro (Alessandro di Mariano Filipepi), 122, 163, 175, 184, 202–220, 255

Brancacci Chapel, problem of the frescoes, 131–141

Byzantine manner, 10–12; in Venetia, 324, 326, 327

Bartolommeo di Giovanni, 183

Bassano, Jacopo and Leandro, 424

Bonauiti, Andrea, decorator of the Spanish Chapel, 51–53

Bronzino, Agnolo, 251

Brunellesco, investigator of perspective, 110

Canale, Antonio, 442

Caravaggio (Michelangelo Amerighi), 453–456, 470

Carpaccio, Victor, 364–370

Carracci, their academy at Bologna, 461.; Carlo Malvasia on the Eclecticism of the C., 471

Carracci, Annibale, 453, 459–465; sonnet ascribed to, 471

Cassone painters, before 1450, 127–130; after 1450, 180–183

Castiglione, Baldassare, 266, 298; list of greatest artists, 315

Cavallini, Pietro, 16–18

Cimabue, 12, 14–15, 20

Classic Spirit, Kenyon Cox on, 319

Correggio (Antonio Allegri), 340, 415–417; Initiator of the Baroque Manner, 416

Cox, Kenyon, on the Classic Spirit, 319

Crivelli, Carlo, 267, 271, 334–335

Dante, 3, 8; Giotto’s portrait of, 40; Botticelli’s drawings for, 215

Domenico di Bartolo, 89

Domenico Veneziano, 147–148, 168, 201, 267, 271

Domenichino (Domenico Zampieri), 465, 467–469

Donatello, 110, 333

Duccio di Buoninsegna, 12, 13, 60, 63–72; Procession on installation of his great Madonna, 106

Florence, about 1300 described, 2–4, 55; the new looser manners after the plague of 1348, 110, 111; Renaissance pageantry in, 195–196; Savonarola’s revolution, 193, 215, 302; End of liberty in and demoralization, 320

Folgore da San Gemignano, Sienese sonnet quoted, 104

Francesco di Giorgio, 100

Francis of Assisi, St., initiator of the new emotionalism in painting, 7, 8

Fresco, method of painting in, 6

Gaddi, Agnolo, 46

Gaddi, Gaddo, possibly to be identified with the “Isaac Master,” 18

Gaddi, Taddeo, 40, 45, 46

Gentile da Fabriano, 267–270, 328, 330

Ghiberti, Lorenzo, Sienese anecdote by, 104; his studies, 109

Ghirlandaio (Domenico Bigordi), 122, 142, 143, 177, 184–194

Giorgione, 370–383; problem of, 370; early works, 371, 372; his Arcadianism related to pastoral poetry, 373–374; his dreamy and indeterminate mood, 374–377; Castelfranco Madonna, and other later works, 378–380; pastoral symphony, 380–382; The Concert, its problems, 381–382; Summary, 383; Suggestion of G’s subjects in Leonardo’s “Trattato,” 385–386

Giottino, 46

Giotto’s pupils, “Master of the Right Transept,” 43–45; Taddeo Gaddi, 45, 46; Buffalmacco, 46; Bernardo Daddi, 46; Giottino, 46, 47

Giotto di Bondone, 18; early work at Assisi, 20–22; at Rome, 23; at Padua, 23–29; later work, the Allegories at Assisi, 31–34; at Santa Croce, 34–39; The Campanile and last phase, 40, 41; general characterization, 42, 43; poem by, 56; mentioned, 136, 267

Giovanni di Paolo, 93–95

Girolamo di Benvenuto, 99

Giulio Romano, 294, 297, 452–453

Gozzoli, Benozzo, 142, 143, 165–166, 267, 271

Grand style defined, 265–266; Sir Joshua Reynolds on, 318–319; L. Dolce on, in Titian, 445

Guariento of Padua, 324

Goya, Francisco, quoted, 131

Guardi, Francesco, 443

Guido of Siena, 12

“Isaac Master,” perhaps Gaddo Gaddi, 18

Isabella d’Este, Marchioness of Mantua, relations with Mantegna, 343; Opinion of him, 384

Landscape, new sense of the picturesque in, and Salvator Rosa, 456–457

LeBrun, Charles, dependence as decorator on A. Carracci, 465

Leonardo da Vinci, 1; on Masaccio, 151, 202, 223–235, 260; His new principles, 224; Early Florentine period, 225–237; Adoration of the Magi, 233–236; Madonna of the Rocks, 236; First Milanese period, 238–240; Last Supper, 239–240; Second Florentine Period; Mona Lisa, Anghiari, 239–241; Second Milanese Period; St. Ann, Second Madonna of the Rocks, 243–244; Roma and France, 244–245; His Influence, 245–246; Tractate on Painting, 257–260, 285, 286, 287, 290, 292, 300, 371, 383, 385

Lomazzo, Paolo, Great Italian painters compared with the poets, 385

Longhi, Pietro, 444

Lorenzetti, Ambrogio, 40, 42–45, 72, 76, 79, 84

Lorenzetti, Pietro, 76–78; Followers of, at Assisi, 79; Contract for Arezzo altar-piece, 105–106

Lorenzetti followers, Triumph of Death, Pisa, 88, 89

Lorenzettian, panoramic style, 86, 126, 172

Lotto, Lorenzo, 411–413

Lorenzo de’ Medici, his birth salver, 181–184

Lorenzo Monaco, Don, 112

Lorenzo da San Severino, 272

Lorenzo Veneziano, 326, 327

Mantegna, Andrea, 333, 337–345, 348, 352, 355, 356.; Titian on, 324

Marcovaldo, Coppo di, 62

Masaccio (Tommaso di Ser Giovanni di Tommaso Guidi), 50, 130–142, 151, 201

Masolino da Panicale, 122–127

Matteo di Giovanni, of Siena, 97–99

Melozzo da Forlì, 273–274

Michelangelo Buonarotti, 19, 193, 263; perturbing influence on Raphael, 288, 294, 295; Early works; Doni Madonna, The Bathers, 301–303; The Sistine Ceiling, 304–313; The Last Judgment, 313–314; Defects of his followers, 315; Advice on posture, 317, on the unity of painting and sculpture, 317, 318, 407, 429

Michelozzo, 115

Modern sensibility, in Pontormo, 253; Moretto, Lotto, Correggio, Tintoretto, 411

Moretto of Brescia, 412–413

Moroni, Giambattista, 423

Nardo di Cione, 48

Neroccio di Landi, 100

Oil Painting, introduced at Florence by Domenico Veneziano, 147,; practiced in Lombardy by Antonello da Messina, 345

Orcagna (Andrea di Cione), 47–50; Contract for Strozzi altar-piece, 56

Ottaviano Nelli, 271

Palma Giovine, on Titian’s technique, 390

Palma Vecchio, 407, 411

Paolo Veronese (Caliari), 436–440

Pastoral poetry as background of Giorgione’s inventions, 370–374

Perspective, discovery by Brunellesco, 110,; Uccello’s experiments in, 144, 152; Piero della Francesca’s book on, 169; Mantegna’s illusionistic, 337, 339–340; further developed by Correggio, 340, 415–416

Perugino (Pietro Vannucci), 117, 178, 223, 265, 269, 276–280, 283, 288, 297, 267, 271, 273, 278–282, 285, 290, 299

Pesellino, Francesco, 181

Piero della Francesca, 169–172, 201, 273

Pollaiuolo, Antonio, 158, 166–169, 201, 205

Piero di Cosimo, 177, 202, 221–223, 246

Pintorricchio, 101, 174

Pisanello (Antonio Pisano), 328

Plague banners, Umbrian, 263, 313

Poliziano, Angelo, his poetry as an inspiration for Botticelli, Raphael, Titian, 255–256

Pontormo (Jacopo Carrucci), 253

Poussin, Nicholas, derives from Raphael and the Eclectics, 458

Raphael Sanzio, 19, 256, 263; His Umbrian beginnings, 282–283. At Florence, 283–288. At Rome, The Segnatura, 289–293; Stanze of Heliodorus and of the Incendio, 294–296.

Realists, Early Florentine, enumerated, 143

Reni, Guido, 465–466

Reynolds, Sir Joshua, on the Grand style, 318–319

Rodin, Auguste, on Michelangelo, 313

Roman revival before 1300, 16

Rosa, Salvator, 456–457

Rosselli, Cosimo, 172, 221

Rubens, Peter Paul, his praise of Leonardo, 258, derives from Titian, 468

Sannazaro, Jacopo, 373, 374

Sassetta (Stefano di Giovanni), 72, 90–92

Sebastiano del Piombo, 295, 408–409

Signorelli, Luca, 176, 273–278

Sistine Chapel, early frescoes analyzed, 173–179

Savonarola, Fra Girolamo, 193, 215, 217, 302

St. Dominic, 8, 52

Siena, the Sienese temperament illustrated, 59–61; its artistic conservation, 61

Simone Martini, 72–76, 267

Sodoma (Antonio Bazzi), 102, 471

Squarcione, Francesco, School of, 334

Starnina, Gherardo, 50

Tempera, painting in, 5, 6

Tiepolo, Giovanni Battista, 440–442, 444

Tintoretto (Jacopo Robusti), 424–435

Titian of Cadore (Tiziano Vecellio), 256, 389–408, 418–423. His calculating character and technique, 389–390; his four periods, 390–391; Early, Giorgionesque period, 392–398; (1515–1533), 396–404; (1533–1548), 404–407; (1548–1577), subjective and impressionistic phase, 418–423. Lodovico Dolce on T’s impressionism in landscape, 446; G. F. Watt on T’s classical quality, 446

Tommé, Luca, 86

Torriti (Jacopo), 12

Uccello, Paolo, 143–144, 152, 201, 334

Umbria, its characteristics, 266–267; foreign painters in, 267

Vasari, Giorgio, on Masaccio, 151; on Paolo Uccello, 152; on a Trick to get a chapel, 196–197; on the “Modern style,” 316, 317; boasts of his own dexterity, 451.

Velasquez, draws from Caravaggio and the Italian Tenebrists, 456, 470

Venice, its colorful aspect, and nature of its civilization, 323–326

Veronese, see Paolo Veronese

Veronese, early panoramic manner, 328–330, 331

Verrocchio, Andrea, 158, 201, 203, 227–230

Villani, Giovanni, summary of Florence, 9, 54–56

Villani, Matteo, on the relaxation of Florentine morals after the plague of 1348, 110–111

Vivarini, Antonio, 330, 363

Vivarini, Bartolommeo, 362, 363

Vivarini, Alvise, 363

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TRANSCRIBER’S NOTES

1. Silently corrected obvious typographical errors and variations in spelling. 2. Retained archaic, non-standard, and uncertain spellings as printed. 3. Re-indexed footnotes using numbers. 4. Enclosed italics font in _underscores_. 5. Enclosed bold font in =equals=. 6. Denoted superscripts by a caret before a single superscript character, e.g. M^r.